Things were a little quieter on Pier 92, which this year held 28 booths in the Focus section—curated by Gabriel Ritter, curator and head of contemporary art at the Minneapolis Institute of Art—as well as Insights, the section of the fair dedicated to presentations of works made before 2000.
“There is a lot of interest, but small business,” said Saverio Repetto of Repetto Gallery
in London, who said a lot of the clients he normally sees at The Armory Show had not yet arrived by Friday afternoon, possibly because of the daunting weather.
Repetto had nonetheless sold a few small things: a
thread-on-cardboard for $10,000; a small oil painting by
for $40,000, and a small colorful embroidered canvas by
, for $50,000. But bigger-ticket items, such as a $600,000
, were still unsold, and surprisingly, due to recent competition for her work
, none of the
drawings displayed on the outside of the booth had sold as of Friday afternoon.
, a London-based dealer, opened a space on Conduit Street three years ago in order to be able to participate in fairs like The Armory Show, which still require galleries to have a permanent, brick-and-mortar location in order to exhibit. He brought a series of collages from 1980 and 1981 by
, which feature magazine clippings, many of birds, given to her by her former lover
. Priced at $300,000, they were grabbing a lot of media attention
and a lot of interest from collectors from Asia, South America, and New York, said Tiroche, but no sales had been finalized by Friday afternoon.
William Lawrie of Dubai’s Lawrie Shabibi
noted the relative quiet of Pier 92, but acknowledged the works he was showing by New York-based artist
, replicas of Persian manuscripts digitally and manually manipulated to erase the figures in them, weren’t big or flashy, which could be why some people were walking straight past the booth. Those that did stop to look, though, were typically appreciative of Pouyan’s work, with one expert in
noting that Pouyan was the only Iranian artist he had seen who was “working with historical material in a way that’s credible,” Lawrie said proudly. By Friday afternoon, the gallery had sold three of the manuscripts in the smaller sizes, priced at $10,000 each, as well as some works from the gallery in Dubai that were not at the booth, all to American collectors.